THE HSU-NAMI - THE FOUR NOBLE TRUTHS - 2009

Sorting or categorizing things is a part of the way we naturally function as humans. The same is true for most of us music junkies who delegate songs or bands from a general genre to specific and sometimes absurd sub-genres. Some of us, of course, only support this practice passively to avoid the limitations that it sets on perceptions of the band or music.

Though quite inevitable when almost all bands claim to have made their own brands of music – and consequently their own alleged genres – there are still a few good minds capable of coming up with a truly fresh approach. In Hsu-nami’s second album The Four Noble Truths, the Asian-American band proves that the real test of a group’s music-making philosophy is the extent of how far the strings can be pulled without breaking them.

Hsu-nami’s Ehru/Chinese violin + glam rock solos + new metal crunch formula works even better with their new roster. With Tony Aichele and Dana Goldberg (on rhythm guitar and keyboards, respectively), the band produces more congruent songs compared to Entering the Mandala. The song ‘The Four Noble Truths’ spans almost 11 minutes, comprising well-crafted instrumental arrangements.
In Hsu-nami’s second album The Four Noble Truths, the Asian-American band proves that the real test of a group’s music-making philosophy is the extent of how far the strings can be pulled without breaking them

The song starts off with sorrowful violin riffs and progresses to mosh pit-levels. This Buddhism-inspired track renders some of the band’s influences fairly evident - with sliding guitar transitions and double-pedal drum pounding like that of System of a Down’s ‘Toxicity’, thrash-metal Dave Mustaine solos, and pinches of conventional Asian music -teaching rock band aspirants how to mash ‘em up.

The opening track ‘Snake Skin Shuffle’ should be renamed ‘Dragon Fight’ for the fierce instrumental volleys between Jack Hsu and lead guitarist Brent Bergholm. Bassist Derril Sellers shouldn’t be overlooked for his solo in the album closer ‘Rising of the Sun '09,’ where Brent also throws in a brief Tom Morello homage. ‘Jubei Chan Theme’ is equally heavy in parts, but a bit more experimental due to the integration of some Latin flavor.

The album also features some easier-listening tracks for the rockers whose tastes are more subdued. Listen to ‘Temple Song’ if you’re wondering how a rock rendition of meditation music sounds like. If you think that violins in bossa nova may sound weird, ‘Moonlight’ will tell you you’re wrong.

For a funkier feel, listen to ‘Luxy Nye’ where John Manna pulls off some inventive drum fills, and ‘Beautiful Night’ where the bass and guitar solos overlap for an addicting psychedelic groove. On the other hand, ‘Passport to Taiwan’ builds on some punk guitar riffs that work surprisingly well in the 3-song medley of traditional Taiwanese tunes. This mix is arguably Jack’s best display of skill in the album.

You can say that Jack and company have been consistent all throughout the album and no one will argue. What’s clear is that the band’s repertoire has widened, making their music fulfill the label ‘progressive’ in the best sense of the word. But whether the band’s output should be called progressive rock or symphonic metal is worth many forum threads. They have favorably blurred the line in between to enlighten us all that genres, after all, are just plain stickers on jars. Who would have even thought that a two-stringed bowed instrument would have made much difference in this age of manufactured music? So file Hsu-nami’s The Four Noble Truths in any genre you want to - it’s gonna stand out anyway.
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